Mala, real name Mark Lawrence, is one of modern electronic music’s most forward-thinking and progressive figures. As a founding member of pioneering dubstep duo Digital Mystikz along with Coki, Mala’s been at the forefront of recent underground club music in the UK and around the world. He’s played a pivotal role in the development of the genre we know today as dubstep.

For the latest episode of our Wireless video interview series, composer, producer and Dubspot instructor Raz Mesinai (aka Badawi) talks with the publicity-shy producer and dubstep heavyweight about a wind-range of topics that include early musical influences, club music and sound system culture, harmonic existence, sound quality, and much more. Mala talks about the impact of jungle and drum and bass music in the early 1990s, launching the highly influential DMZ club night and music label with childhood friends and collaborators Coki, Loefah, and Sgt Pokes to founding the well-respected Deep Medi Musik imprint.

For more, click here to read our November, 2010 feature on Mala.

Shure SM57 for guitars & djembes, Shure SM58 for vocals. These are the m-16’s of the mic world. You can hammer a nail with it & record Mariah Carey after. I come from a live music punk rock background  & these have never let me down. - DJ Cieba

This is one place where it’s worth it to just save up some money and get the good stuff. I have 3 mics that I use the most. I use them for which ever situation they are best suited. My AKG 414 has an “open” and “airy” sound – great for acoustic guitar, piano, strings or almost any vocals. My Neumann TLM-103 has a very warm sound – great for warming up vocalists with very thin voices. My good ol’ Shure SM-57 takes care of all the loud and/or grungy stuff like sampling a borrowed snare drum, trash can lid or guitar amp. Don’t skimp on the microphone pre-amp either, but that’s for another article. - Bill Lee

In this new video tutorial we take a look at an alternative way of working with Ableton Live’s Drum Rack. With all of the great instruments and effects that come stock with Live, Drum Rack may be the most powerful of the bunch. Using the flexible routing system in Live, it is possible to route MIDI information to Drum Rack and get the best of both worlds: the practical separation of tracks with all of properties of the clip, and the power of Drum Rack and its own internal options. The lesson to be learned is that the combination of old ideas is how new ideas are born, so take a fresh look at the tools at your disposal and see if there’s anything new that you can add to the table for other Live users to enjoy.

Our music production program is custom-tailored to fit your musical style. You can choose from several Digital Audio Workstations including Ableton Live, Logic Pro, or Propellerhead’s Reason.

After completing this program, you will leave with 4 completed tracks (EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Shake Hands with Live
• Ableton Live Level 2: Completing Your First Track
• Ableton Live Level 3: Production Essentials
• Ableton Live Level 4: Sound Design & Instrumentation
• Ableton Live Level 5: Advanced Composition & Production
• Ableton Live Level 6: Taking Your EP Global

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, United Kingdom

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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The world took notice of Dre Skull, creator of the New York-based label Mixpak, when he produced a full length album last year with Vybz Kartel, easily the top dancehall deejay prior to his incarceration. And he continues to work with a growing list of the most famous artists in the Caribbean. Some artists have even started releasing their music under bootleg Mixpak logos in attempt to benefit from his name. But Dre had been doing his thing for a while before that, as many people with an interest in forward thinking club music could tell you. He’s known for the eclectic list of artists on his label. It’s all over the place in terms of tempo and genre, but generally has a common strain of individuality, brash sounds meant for the dancefloor, and a certain analog-tinged sensibility. Yet it’s impossible to brand the overall arch definitively, as evidenced by the inclusion of Japanese rockers Hard Nips on the roster. He’s also released work with a number of prominent American rappers. Below, Dre discusses his production set up and writing process – which includes using iPhone earbuds; what it’s like in the studio with vocalists; as well as the appeal and challenges of working in a broad range of genres. – MS

Click here to view the embedded video.

What is your production set up?

I’m usually working off my laptop, sometimes I’m in a small production studio. Most of my production is done in Logic Pro, with some use of Ableton and Pro Tools as needed. I have a Juno 106, a basic M-Audio MIDI controller, and a portable Akai controller. I used to have a Casio Dg-20 Guitar Synth MIDI controller, but I sold it. I would like to get a MIDI guitar again sometime. Sometimes I’m in a small production studio, but lately I’ve been working off my laptop with simple earbuds. At least while I’m in the creative side of coming up with new track ideas. My next riddim, the Loudspeaker Riddim, was written on a plane flying to the Caribbean, for example. Afterwards, I check on different headphones and multiple sets of monitors and then on a few regular speakers. Basically, whatever I can listen on. I started using earbuds while I was traveling and those were just the headphones I had with me… and then I convinced myself that many people who hear my music will listen to it on earbuds.

What do you use software for specifically?

Well, a lot of my vocal sessions are recorded in Pro Tools, as that is still pretty much a studio standard for tracking. So I’ll bounce a rough two-track of the instrumental from Logic and record the vocals in Pro Tools and then bring the vocals back into Logic. With Ableton, I sometimes run it slaved to Logic and use it to try out little things with audio because it lets me mock ideas up pretty quickly. I never really program synths or use any virtual instruments in Ableton, just mess around with audio and render it and bring it into Logic .

What is your workflow?

For better or worse, I don’t have my go-to kicks or snares or anything. Basically, when I start a track I open a new session and try to divine what I think I need. If I’m working with a particular vocalist I might reach for sounds or ideas that suit them, but I also like to keep things free. I never like to get too comfortable with one method of making tracks, so I like to write melodies in different ways… sometimes I draw them into the computer, sometimes I play on a keyboard, and lately I’ve been writing melodies by singing into my phone and then transcribing them.

When you produce a track, do you gear it towards an audience?

Usually, if I’m producing something for a vocalist, I’m thinking more about the vocalist and what I want from them as opposed to any audience. I definitely do think about context though. What is this track for? What is it trying to achieve? I don’t necessarily have those answers, but I drop the question in and let it guide me a bit.

[Vybz Kartel - "Wine Pon Me," Mixpak 2011 | Photo By Michael Schmelling.]

Do you usually write with a vocalist in mind?

When I know I’m going to be working with a vocalist or aspire to work with someone, I definitely do. Occasionally, I’ll just do something freeform, but at this point, I usually have something very specific I’m trying to get done. That being said, having a vocalist in mind can just be a good motivator and guide and even if you don’t end up working with them, it can help you shape a vibe.

What happens in the studio when working with a vocalist?

It really depends on the situation. Sometimes I weigh in with some direction about what I picture on the track – give a hook, a vocal delivery idea, or just a basic song concept – but other times I let the music be the guide and see where the vocalist takes it. The beat is usually finished by the time we get in the studio. Generally speaking, there is a time sensitivity, and as much as I think that creating from the track from scratch with a vocalist in the studio is a great process, it just doesn’t happen very often. I hope to do more of that going forward.

What makes for a good vocalist in your opinion?

The best vocalists I’ve worked with seem to be able to add something almost mystical to a song. It’s not about having the best voice necessarily, but it’s a way their voice can embody the words, melodies, and the intent or energy of the song that can ultimately create something that is greater than the sum of the parts.

How much work do you do on a track after you’ve recorded vocals?

I almost never have a great mix when I record vocals. For one, this helps limit the risks of leaks, but also I always like to re-work the production around the vocals and the song that ends up on top of the track. When it’s a project I control, that’s definitely my preferred way of working. I think it gives an opportunity to get the track working more precisely to serve the energy of the song that was written on it. That being said, sometimes things come together with the track and vocals and there’s nothing to add but a good mixdown.

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Are you enlisting producers from Jamaica for Mixpak too?

I’ve been trying for over a year, but it never seems to materialize. Even among producers who I count as my friends, it doesn’t seem to happen, no matter how much we talk about it. Hopefully I won’t put a hex on it by speaking too soon, but finally I think we should have something from an incredible Jamaican producer coming out in June. Let’s see…

What do you look for in a producer for a Mixpak release?

I’m looking for interesting ideas, producers who make me think about some new idea or strain of an idea and get me excited about it. Generally there has to be some kind of hook, whether it’s a vocal thing, a synth sound, or something with the percussion… just something to catch the ear.

Do you think genres are limiting? Or that they intensify creativity? Or some of both?

Genres are like maps, they can help you make sense of where things are… to a point. But then you have to go there yourself, whether as a producer or a listener or a club full of people. For example, hearing a certain genre in the club can make all the sense in the world on one night in one city and that power cannot be denied, but in a different night or city all bets are off. I think a good example where that’s happened to me would be when playing some 160bpm power Soca. I’ve completely torn down clubs with it on given nights and then other times I’ve have played it and it just seems to be too overwhelmingly fast and the club isn’t ready. Music exists in the larger context. I’m not mad at genres though.

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Pump Up The Volume – The History of House Music

Pump Up The Volume is a British TV series from 2001 that focuses on the inception and development of house music. While the film was rarely seen in the states during that time, a flood of Youtube uploads and a grass-roots movement have pulled the series back into public consciousness. The reason for the excitement around this series is the in-depth look at what was happening during the 1970s and 80s in New York, Chicago, and England. Interviews with legends such as Frankie Knuckles, Ron Hardy, and Marshall Jefferson are inter-cut with bits from dancers and enthusiasts who were present at the dawn this movement. If you’re a fan of modern day house music, this documentary is a must watch for education (watch part two here).

Click here to view the embedded video.

Copyright Criminals

The advent of the sampler has probably had more impact on modern music than just about any other instrument. The sampler has also been the subject of scrutiny from many professional artists who claim their work is being stolen while this revolution of cut-and-paste methodology takes over modern music creation. Copyright Criminals takes a long look at both sides of the argument with discussions on the legal and illegal sides of sampling and interviews with many artists who use this method. Notable moments come from James Brown’s drummer Clyde Stubblefield (the original funky drummer), Public Enemy, Q-Bert, Coldcut, El-P, Sage Francis, and Miho Hatori. In the center of this film are numerous lawsuits that only seem to come when an artist breaks from the underground into the commercial realm and a discussion of whether these laws are appropriate in modern society.

Click here to view the embedded video.

Synth Brittania

In the mid 1970’s a revolution of sound came from out of Germany as Kraftwerk inspired bands worldwide to ditch their guitars and buy synthesizers. This movement had a massive impact on artists in and around England, with artists such as Depeche Mode, OMD, Cabaret Voltaire, Throbbing Gristle, Soft Cell and Gary Numan carrying this inspiration into the 80’s where they all have influenced modern pop and dance music. This fantastic documentary from the UK’s BBC4 combines interviews with these artists along with rare footage from the 70’s and 80’s to create an endearing look at the inception of electronic music in Britan. The film may not be as easy to find as others in this list, but it’s well worth a search (trust, you’ll find it online).

Click here to view the embedded video.

Art & Copy

Doug Pray, a filmmaker who previously created the turntabilist documentary, Scratch, takes a look at the American advertising industry in his latest film, Art & Copy. While advertising usually gets a bad rap, this film explores another angle – the beautiful intersection of art and commerce when creative people are in charge. The real beauty of this film lies in the discussions with creative people from some of the top advertising firms in the world explaining philosophies and struggles to create their visions. At the center, this film is a celebration of art (while at the same time admitting that most advertising is, in fact, garbage).

Click here to view the embedded video.

Transcendent Man

If you feel like the evolution of technology is moving faster and faster these days, you may be on to something. According to Ray Kurzweil, we are heading towards the intersection of where humanity’s evolution and technology’s evolution will merge. Some people think his ideas are crazy but Kurzweil is responsible for some of the biggest movements in technology and he invented some technology that you probably own. These inventions include the flatbed scanner, OCR technology, voice recognition software (his company helped create SIRI for the iPhone), and the Kurzweil K250 synthesizer which was designed for Stevie Wonder when he asked Ray, “Wouldn’t it be great if we could use the extraordinarily flexible computer-control methods on the beautiful sounds of acoustic instruments?” Transcendent Man by director Barry Ptolemy introduces Ray Kurzweil as a deeply emotional man, the renowned futurist who wants to live forever and thinks that we will get there in the next thirty years. If you’ve ever felt like you could do more in this life, this man is quite the inspiration to learn from.

Michael Walsh is a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

During a recent visit to New York City, SomeOthaShip Connect recording artist and Stones Throw / Madlib affiliate Georgia Anne Muldrow stopped by the Dubspot studios to talk about her musical upbringing and give some words of inspiration to up and coming musicians. She also brought her mom along (the talented Rickie Byars-Beckwith) and reminisces about growing up in a musical family and the day she discovered an Alesis drum machine. Muldrow is a singer, songwriter, and multi-instrumentalist from Los Angeles who recently collaborated with Otis Jackson Jr. (aka Madlib) to create her most recent album, Seeds which is out now on SomeOthaShip Connect. She’s a dedicated Reason and Native Instruments user who has become known as much for production as she’s known for her gorgeous voice.

Georgia Anne Muldrow – Seeds (Produced by Madlib) by someothaship (photo by charles “chuck nlv” sicuso)

From Wikipedia: Georgia Anne Muldrow is an American singer, musician and producer. She is the first female artist signed to the label and is the girlfriend of fellow label artist Dudley Perkins (aka “Declaime”). Her father is the late jazz guitarist Ronald Muldrow and her mother is Rickie Byars-Beckwith, the musical director of Agape Spiritual Center in Culver City, CA. Her stepfather is Rev. Michael Beckwith who is best known for being a teacher in the movie and book “The Secret” . Her early work involved collaborations with the Platinum Pied Pipers, Sa-Ra, Spinz and J*DaVeY. She is known for playing the majority of instruments featured on her recordings. Her vocal style and musical accompaniment often are free-form in nature.

We are really excited about Dubspot’s touring workshops that you can catch at music festivals around the U.S. this year.  These opportunities offer a chance for us to connect with our community in real-time and get inspired for the sake of music creation. After a series successful Education Sessions at SXSW, the Dubspot team headed to Boston’s Together Festival to present The Dubspot EDU Sessions – two days of educational workshops featuring the latest DJ, electronic music production and performance technology. In the above video recap of our journey, Dubspot instructors Chris Petti, Evan Sutton, DJ Shiftee demonstrate techniques for production and performance with Ableton Live, Native Instruments’ Komplete, Traktor Pro 2 and more. And the team catches an intimate moment with bass producer Starkey who explains a bit of his DJ performance.

About Together, Boston:

Boston has always been a mecca for creativity. It’s one of the biggest college towns in the world (home to schools like Berklee, M.I.T., Mass Art and Harvard) and has simultaneously been responsible for pushing the music industry on-air, in print and in clubs for decades. For the last 20 years the electronic music scene in Boston/Cambridge has been bubbling beneath the surface of this rock-centric city and producing some incredible talent such as Dana Kelley (aka Krimp, Callisto, DKMA), Fred Gianelli (The Kooky Scientist), Morgan Page, Steve Porter, Pete Moss, Armand Van Helden, and DJ Rupture – to name just a few.

While many talented artists hail from Boston/Cambridge, there has been a long history of divided dance floors in the city. This is mostly due to a lack of bigger clubs supporting the scene (you don’t need great djs to entertain college kids a lot of the time) in which case the pubs and intimate clubs pick up the music for a thriving scene in smaller spaces. So you have dubstep nights, drum and bass nights, house nights – but not a lot of events that combine the talent and music from across all genres and people. In 2009 the Boston Together Festival was conceived to bring these people and sounds together for a week-long celebration of events and parties that revolve around that one concept – getting together. Together creative director David Day explains more:

September 6th, 2009, I sent an email to 81 different electronic music event promoters and brains of this town. The gist was: Let’s all book something great for one week in February, hold panels and daytime events all over the city, and have ourselves a music festival … and let’s call it “Together.” After a tremendously positive response, we assembled a steering committee to help formulate what would become a city-wide super-event with hundreds of performers, discussions about art, music and collaborations like the city has never seen before. Much of it free.

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Welcome!

As the Curriculum Director of our school, I have the honor and pleasure to announce the arrival of Dubspot’s brand new three level Maschine program, designed and developed by our own Heinrich Zwahlen and Matt Cellitti. I honestly couldn’t ask for a better team to have creating this program and I am confident that it will fulfill the need and want for high quality training on Native Instruments MASCHINE’s hardware / software combination. Like many of you, I’ve been watching Cellitti’s Maschine tutorials on our YouTube channel and patiently waiting for this program to be announced and classroom-ready. The classes will be available in our school in New York City and at Dubspot Online. Start dates and information about payment plans can be found here.

Native Instruments Maschine redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

Level 1: MIDI Programming and Beat Making Basics

Learn all basic functions of Maschine’s hardware and software while exploring the different methods of beat making. Merging performance with composition, we practice how to program MIDI drums in an improvisational manner. Getting to know the Library and how to load sounds quickly is key for a good workflow as well as the ability to write automation in a fluid and hands on way while looping patterns. We show how to use the sampler controls for basic sound shaping and add some of the main effects such as delays, reverbs and various saturation/distortion types while creating simple drum tracks.

• Class1: Overview, Navigation and Improvising with the Library

• Class2: Creating Beats and Kits from Scratch

• Class3: Shaping Sounds with the Sampler, Writing Automation and Adding Effects

• Class4: Adding Bass and Mixing with Aux Effects

Level 2: Sampling, Slicing and Composing with Sampler Instruments, Effects and Plug-Ins

In this level we will first focus on the sampling section of Maschine, starting out with some old school loop-slicing so we can map individual hits of a loop to the pads in the fastest and easiest way. We discuss the different options of mapping to pads or across the keyboard while loading samples from disk and various sound libraries. Then we proceed to record into Maschine, first from within the computer and then from external sources. Sampling can also be used as a production tool when we resample Maschine’s own output from the master, group or sound level. As we learn more about using and creating instruments we move from recording drums and bass to creating some additional musical parts while using new sound design tools and effects. The addition of plug-ins will take Maschine in a totally new direction as a synth controller and sequencer. On this level, Maschine becomes much more of a musical Instrument suitable for the real time creation of any type of MIDI based composition.

• Class1: Editing Audio, Slicing Loops, Recording and Sampling

• Class2: Creating Multi Sampled Instruments and Composing with the Library

• Class3: Sound Design with Effects

• Class4: Using Plug-in Instruments and Mixing in Maschine

Level 3: Programming Plug-ins, Advanced Production, Performance Techniques and DAW Integration

First we revisit the free Komplete Elements and use also TAL Juno to introduce a classic subtractive synth. We are focusing on the new sound parameters and controls to give students full use of the instruments while giving them an introduction to a wider world of synthesis. This level is also teaching more advanced production techniques and showing different drum styles and how to work with less standard time signatures. In the same lesson we are also showing some simple methods for arranging a track out of a loop and creating DJ friendly tracks. For sound design and mixing we are creating more complex effects chains and racks as well as showing alternate routing options. On the performance side, we give some practical advice for seamless live playing and sequencing, along with some live remixing techniques. Integrating Maschine in the workflow of a DAW is of big interest even for many experienced producers so we will give the definitive guide explaining all the options in Class 3. We conclude the course by showing how to use and customize the included Controller Editor to use Maschine as a MIDI controller with Ableton, Logic or to control Synths in standalone mode or as plug-ins in the DAW.

• Class1: Sound Design with Komplete Elements: Programming Synthesizers and Effects

• Class2: Additional Production Techniques in Standalone Mode

• Class3: Performance Tips&Strategies and Live Remixing

• Class4: DAW Integration, Using Maschine as FX and Midi Controller

The buzz around the school is growing louder everyday about this new program, and that’s coming from students, teachers and staff alike. I, for one, am thrilled to really learn the ins and outs of Maschine and, furthermore, to learn from experienced and equally excited teachers. But most of all, I’m happy that you will soon be able to have the same experience. Until then, keep watching the Maschine tutorials already posted on our blog and look out for the stellar ones soon to come.

Sincerely,

Pat Cupo, Curriculum Development

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Click here to view the embedded video.

Apple Magic Trackpad ($79)

The mouse (or trackpad for laptop users) is something that most of us take for granted. We use it so often that it’s become an extension of the hand and the brain, our most often used interface for creation. The mouse is therefore one of the most demanding physical objects we use in daily life. It never seems so, a little flick of the wrist, a little click – it’s all very light use of the body. But perpetual use of our hand, arm and back muscles can lead to wrist pain, back aches, headaches, and sometimes quite serious medical problems such as carpal tunnel syndrome. For this reason we recommend that you spend money on a good mouse. Some companies such as Logitech offer ergonomic mice that hold your hand/arm at a proper angle and they also offer high-resolution sensors for better precision. The Apple Magic Trackpad ($79) is another option that some producers prefer – its flat surface and multi-gesture input allow the hand to sit at a more natural angle and it works just like the trackpad on your laptop.

Kensington Expert Mouse Trackball ($99)

If we were to pick one device to use as your mouse, it would have to be Kensington’s Expert Mouse Trackball ($79). This device has been around for a couple of decades and championed by video editors, audio editors and designers alike. The large ball rolls smoothly and allows for fast movement across the screen with very small movements. The ergonomics are fantastic, saving you wrist strain after hours of use. And the four, large buttons can be programed to do just about anything you want, all making for a simple and effective workflow with minimal movement from your hand and arm.

Additional Memory (RAM) ($50-$99)

RAM is another one of those things we rarely think about. But every time that pinwheel / beach ball starts spinning on the screen, a small frustration sets in as we wait for the computer to finish processing whatever it’s doing. Let me be the one to remind you that RAM will shave those precious seconds off your wait time, making your computer experience much more enjoyable. Adding more memory will enhance many parts of your creation experience: programs load faster, your DAW processes sound faster, you can run multiple applications without getting that frustrating delay. I’m running a Macbook Pro 13″ that had 4 gigs of ram until last week when I installed 8 gigs ($89). The change is quite noticeable, especially with Logic which would take a very long time to load / process previously but now screams through any process I throw at it.

EditorsKeys Keyboards / KB Keyboard Covers ($20 – $99)

Key-commands are one of the best weapons in your DAW arsenal. There is usually a keystroke for every action you could want to do, the only problem is taking the time to memorize all of those commands. EditorsKeys, a music gear company out of the UK, aims enhance your workflow in Ableton Live, Logic, Reason and other DAWs with their Audio Editing Keyboards ($96), custom keyboards with keystrokes printed on them for your DAW of choice. The company also offers silicone keyboard skin covers ($45) and sticker sets ($21) for those who wish to use their existing keyboard. In the US, KB Covers also overs an extensive line of keyboard covers for Mac users.

IKEA Brada Laptop Support ($2.50) / Griffin Elevator ($29)

I’m sort of obsessed with things like this Brada Laptop Support ($2.50). It’s cheap, sturdy, and holds Maschine, an APC 40, Launchpad, laptop, or other musical devices at a perfect angle. If you’d like something a bit more sexy, I’d recommend the Griffin Elevator laptop stand ($29) which holds your gear at a nice height and breaks down to a small package for travel. It’s amazing how much fun music making can be when you’re not straining your neck to see the controls.

A Notebook and a Pen ($1 – $20)

Write your ideas down in a notebook. I wrote about this idea a couple years back on our blog and I’d like to offer this advice again. I was working at an Ad Agency a few years back when my boss gave me a really good tip. She suggested that when I come to work in the morning I should grab my coffee and a notebook and “sit on the couch and write for an hour.” It turned out to be a habit I kept long after that job. Most of us turn to the computer for our first move with just about everything these days. But the computer offers too many choices and too many chances for mis-direction. I found that writing my ideas on paper helped me to refine ideas and workflow before I got started. With a clear direction of where you want to go before you begin, the process becomes much quicker and enjoyable. If you keep these ideas in a notebook they can become a reference for more ideas when you read over them again. I continue to find new inspiration in things that I wrote and forgot about.

Stopwatch or Kitchen Timer ($10)

Most of us have so much to do in any given day that by the afternoon we’re trying to push our way through 14 projects at the same time. One way to help organize your time is to schedule tasks in one hour segments. For instance – build drum kits and work on synth presets for an hour. Spend an hour updating your Soundcloud, Facebook and social media pages. Spend an hour building a track. The key here is stopping whatever you are doing when the hour is up. Use a stopwatch or kitchen timer to keep track of your hour long sessions and try to start and end each project within that hour (you can always come back to it later). By organizing time in this way you’ll find your days to be more productive than attacking it all at once.

A Piano Chord Chart ($5)

Assuming that you are using a MIDI keyboard to input notes, it’s a good idea to keep a piano chord chart around. Even if you don’t know music theory (and especially if you don’t know theory), this is a great tool to have. Say you start writing a simple melody with single keys and you want to develop those keys into chords. Pull out that chord chart and you can begin to create real harmonies without knowing much at all. Over time you’ll begin to know the keys and the chords and understanding music theory as you refer to this chart. It does take an extra step to actually plan out what you are going to play, but this method will help you create more interesting and complex music as well.

Cable Ties / Colored Electrical Tape ($0 – $10)

Cable ties help keep your cables tidy. You can pick up some cable ties from manufacturers like Hosa, who make the cable tie pictured above (yes, it’s a piece of Velcro), or you can find something around the house like Velcro, twist ties, or electrical tape to neaten-up the cable mess that you have happening in the studio. You can also use colored electrical tape to color-code the ends of your cables, for an easy reference to see what is plugged into what. It’s amazing how many times I forget what channel I’ve plugged into. This is a very simple solution to that dilema. Additionally, If you are a producer on-the-go, check out the the Grid-It organizer ($9  – $19) which brings an interesting but functional method to keeping all your gear in place.

Oblique Strategies (free iPhone App)

In 1975 Brian Eno and Peter Schmidt created the Oblique Strategies card set. Subtitled “Over One Hundred Worthwhile Dilemmas,” the cards offer new perspectives in our approach to creating art. The idea is that when you are stuck you can pick a card and then use the message to move forward in your work. For an example of how it works you can check out an online version of the card set, download the iPhone application or pick up your own deck directly from Brian Eno.

Michael Walsh is a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

On May 26, 2012, music fans from around the world will head to Detroit for a pilgrimage of sorts – a journey to the heart of techno that happens every year on Memorial Day weekend in the city’s Hart Plaza. Detroit tastemakers Paxahau are responsible for the production of Movement 2012 which takes place on May 26 – 28 in the heart of American industrialization and the birthplace of techno. It’s a spectacular event to take in -the sensation of dancing to pounding beats in a (large and very cool) public park on the water makes for a great setting and the lineup of artists is always well-curated for fans of house and techno. The 2012 Movement lineup is looking like a serious scorcher, with artists such as  Mathew Jonson, Maya Jane Coles, Hot Natured, Maceo Plex, Kyle Hall, Bok Bok, Brenmar, Major Lazer, Mike Huckaby, Photek, Roni Size, Salva, SBTRKT, and Stacey Pullen gracing the extensive listing. This year also sees the festival moving into new musical territory with Public Enemy appearing as one of the headliners alongside festival favorites such as Carl Craig, Juan Atkins, and Kevin Saunderson.

Dubspot Education Sessions @ Youthville, Detroit

This year the Dubspot team is very excited to be a part of this amazing event and representing throughout the weekend. First and foremost, we’ve joined forces with the talented Mike Huckaby and YouthVille to present a special Movement Education Sessions experience. On Saturday, May 26th, Mike will be joined by Dubspot’s Professor Nalepa and Michael Walsh for a three hour session on producing music using Ableton Live. This event starts at 10AM and runs until 1PM, allowing you to catch the early festival acts afterwards. This workshop will happen at YouthVille (about 1 mile from Hart Plaza). Space for this event is limited, so please RSVP on our Facebook event page if you’d like to attend!

Detroit’s Mike Huckaby is a living legend and part of Motor City’s techno and house heritage. With over two decades of work as a creator, remixer and dj, he’s become one of the most sought-after producers in the world. Mike’s love for music is shadowed only by his love for sharing knowledge about music and we are especially honored to be a part of this workshop.

Professor Steve Nalepa is an LA-based producer, professor, Dubspot Instructor and Ableton expert who has been teaching Live for over seven years. He’s produced tracks and collaborated with everyone from legends like Bill Laswell and Pharoah Sanders to rising electronic music artists Nosaj Thing and The Glitch Mob. He designed Dubspot’s online Ableton Live curriculum and is currently producing a weekly series of Ableton tutorial videos for our blog. At this special Decibel workshop Professor Nalepa will share production tips, performance techniques, and compositional strategies using Live. In the above video you can get a taste of Nalepa’s sought-after skills. If you enjoy the session you’ll be pleased to know that he will be teaching our next online Ableton Live course!

Michael Walsh is a writer/editor for Dubspot’s blog and a journalist specializing in electronic music production. He’s also an instructor at Dubspot who helped develop the school’s Music Foundations program. As a DJ Michael has toured the world, most recently working as a resident DJ for HSPTL club in Khabarovsk, Russia. He was also co-owner of Ritual Recordings, a house label out of Boston, MA.

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Movement Technology Area + Joy Ride Event w/ NextAid

In addition to the workshop, Dubspot will also be representing at the festival, with an interactive presentation in the Movement Technology Area at Hart Plaza. Dubspot staff will be on-hand to answer questions and show a bit about what we do. Then on Sunday night, Dubspot is co-sponsoring Joy Ride, a party with NextAid that happens at Motor City Wine on Sunday May 27th. DJ’s Mr. V, Nickodemus, and Professor Nalepa will be joined by Marissa Guzman who will perform a live set. This event happens at 9PM, check out the Joy Ride Facebook event page for more information.

Click here to view the embedded video.

Movement 2012 Lineup

Actress • Adam Jay • Adventure Club • Andres
araabMUZIK • AvA • Benoit & Sergio • Bok Bok
Brenmar • Brian Gillespie • Busy P • Calico
Camea • Carl Craig • Carlo Lio • Cassy
Chris Liebing • Clark Warner • Claude VonStroke
Damian Lazarus • Daniel Andres • Danny Daze
Davide Squillace • Derek Plaslaiko • Derrick Carter
Dillon Francis • DJ Godfather • DJ Psycho
DJ Sneak • dOP • Dopplereffekt • Droog
Dwayne Jensen • Dru Ruiz • Earl Mixxin’ McKinney
Eddie Fowlkes • Erno The Inferno • FaltyDL
Filsonik b2b Patrick (NY) • Greg Wilson • GRiZ • Heidi
Hot Natured (Jamie Jones & Lee Foss) • Ian Pooley
Jay Haze • Jesse Rose • Jimmy Edgar • John Arnold
Josh Wink • Joshua Harrison • Juan Atkins
Keef Boxx • Kevin Saunderson • Keys N Krates
Kyle Hall b2b Jay Daniel • Lil’ Louis • Lindstrøm
Loco Dice • Maceo Plex • Major Lazer • Malik Alston
Marcellus Pittman • Marco Carola
Mark Farina (Mushroom Jazz set) • Mathew Jonson
Matias Aguayo • Matthew Hawtin • Maya Jane Coles
Michael Mayer • Michal Menert • Mike Huckaby
Minnesota • Monty Luke • MK • Mr. C • Mykel Waters
Nadastrom • Nic Fanciulli b2b Joris Voorn
Nina Kraviz • No Regular Play • OktoRed
Phil Agosta • Photek • Pirahnahead • Project 313
Public Enemy • Pursuit Grooves • Radio Slave
Rick Wilhite • Roni Size • Ryan Richards • Salva
SBTRKT • Seth Troxler b2b Guy Gerber • Slow Hands
Stacey Pullen • Steve Bug • Subb-an • Tale of Us
The Martinez Brothers • The Wizard aka Jeff Mills
Tiger and Woods • Todd Terje • Tony Ollivierra.
Two Fresh • Wolf + Lamb • Zeds Dead

After a series successful Education Sessions at SXSW, Dubspot traveled to Boston for Together Festival 2012 to host a series of free workshops. The workshops were an open forum to discuss electronic music production and performance techniques. In this video, Dubspot instructor and Logic Pro guru Bill Lee explains and demonstrates creative uses of Side Chain compression in Logic Pro and offers some tips and techniques for music production with Logic. Bill shows how using the side chain feature in Logic’s effects plugins as well as some of the program’s software instruments plugins is an effect way to enhance your production.

Logic Pro Producer Certificate Program

Master Logic with our complete program of courses culminating in a four track EP ready for release. In addition to achieving a complete overview of the composition process in Logic you’ll also earn the Dubspot Producer’s Certificate in Logic Pro. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, and a scored commercial to widen your scope.

Classes start in NYC January 18th!
ONLINE July 22nd!

See more dates NYC and ONLINE classes!

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Click here to view the embedded video.

Dubstep duo Truth (Deep Medi / Get Darker) delivers the latest Dubspot Podcast loaded with an incredible amount of exclusive tracks and unreleased dubs from the likes of Kromestar, Von D, Megalodon, Killawatt, and their own tracks including collaborations with Yayne.
Dubspot Podcast 029: Truth (Deep Medi, Get Darker) – Exclusive Mix by Dubspot

Truth are one of New Zealand’s finest creative exports. Respected across the globe, since inception several years ago, Truth (Andre Fernandez and Tristan Roake) have, as both world-class producers and party-rocking DJs, cut a clear pathway through the international dubstep scene. On the nightclub and festival circuits, the fruits of their labor have included, three European tours, three American tours, countless Australian and Asian spot dates and a loyal following across New Zealand. Truth has built this performance presence through DJ support from Mala, Skream, Joe Nice, Youngsta, Hatcha and N-Type, giving their music an advance presence at key clubnights like DMZ in London, Club Love in New York and through seminal radio stations such as BBC Radio One, Kiss Fm and Rinse FM. – Surefire

TRACKLIST

Truth & Yayne – Dangerous (Free download on soundcloud.com/truthdubstep)
Truth – Haarp (Dub)
Compa – Afraid (Dub)
Truth & DJ Madd – Open Your Eyes (Dub)
Killawatt & Core – Akusala (Dub)
Megalodon, Consious Pilot & Doctor – Like This (Truth Remix) (Dub)
Megalodon – Zombie Rot (Dub)
Kromestar – Kalawanji (Deep Medi)
Truth & Yayne – Surveillance Society (Dub)
Killawatt – Ride the Wave (Dub)
Disonata – Lacuna (Dub)
Perverse – The Iceman (Artikal)
Truth – Babylon London (Dub)
Truth – Puppets (Aquatic Lab)
Perverse Ft Beezy – Cross Examination (Dub)
Truth – Skitzo (Boka Dub)
Truth – All Alone (Tuba)
Truth – Don’t Explain (Riskotheque & Marchmellow Remix) (Dub)
Von D & Riskotheque – Like a Bird VIP (Dub)
Truth – All Over (Dub)
Truth – Spook (Dub)
Artroniks – Deep Cold (Dub)
Itchy Robot & Skeeze – Walk The Plank (Dub)
Truth ft Yayne – Dreams (Dub)
Submatiks – Proxima Centauri (Dub)
Boot – Beyond The Heliosphere (DUb)
Chewie – Solace (Dub)
Dubtek – Babel (Dub)
Megalodon – Mercy Killing (Dub)
Kromestar – Bookey (Dubstep for Deep Heads)
Seven – Twilight Horizons (Dub)
Truth – Hackers (Boka)
Truth & Dutty Ranks – Lucid (Dub)
District – Modulate (Chestplate)
Truth – Iron Lung (Dub)
Truth – Insanity (Boka Dub)
Vaun – Listen (Dub)
Truth – Last Time (Dub)

Sonic architects of songs with an emotional heft as heavy as the subwoofer rupturing basslines that underpin their work, Truth are one of New Zealand’s finest creative exports. Respected across the globe, since inception several years ago, Truth (Andre Fernandez and Tristan Roake) have, as both world-class producers and party-rocking DJs, cut a clear pathway through the international dubstep scene.

On the nightclub and festival circuits, the fruits of their labor have included, three European tours, three American tours, countless Australian and Asian spot dates and a loyal following across New Zealand. Truth has built this performance presence through DJ support from Mala, Skream, Joe Nice, Youngsta, Hatcha and N-Type, to name a few, giving their music an advance presence at key clubnights like DMZ in London, Club Love in New York and through seminal radio stations such as BBC Radio One, Kiss Fm and Rinse FM.

Through keynote DJ support, they have been rewarded with single releases via Deep Medi Muzik, Wheel and Deal, Blackbox Recs, Aquatic Lab, Disfigured Dubz, Argon and Boka Records. Through these, including critically ‘The Fatman’ (as released via Deep Medi Muzik) and their acclaimed Aquatic Lab released album Puppets, Truth have seen their stock rise, placing them as in-demand remixers and collaborators to The Nextmen, Miss Dynamite, Shapeshifter, The Black Seeds, Optimus Gryme, Silkie, Kromestar, Tunndige, Datsik and countless figures of note within the international dubstep community.
Acclaimed by critics both within and outside the dubstep scene, their momentum is undeniable and impossible to ignore. Face the truth or get well outta the way.

Join us on Thursday May 3rd from 7pm – 9pm, as we present special live streaming DJ / Producer Education Sessions at Harvard University with Dubspot Instructors and Harvard alumni Sam Zornow a.k.a. 2X DMC Champion DJ Shiftee and producer/electronic musician Dan Freeman. We are very proud to have so many talented individuals working at Dubspot. Shiftee will explain and demonstrate DJing and performance with Native Instruments’ Traktor Pro and Maschine, while Dan Freeman offers production and performance tips with Ableton Live. We’ll broadcast the workshop live right here in its entirety, but if you’re in the Cambridge and would like to attend in person, please RSVP to the Facebook invite. The workshop is free and open to the public but seating is limited. To gain some insight on whats in store from each of these great instructors please reference the following videos.

DJ Shiftee time-travels through DMC DJ history

Click here to view the embedded video.

DJ Shiftee showcases Native Instruments Traktor Kontrol F1 in a routine with Greg Nice

Click here to view the embedded video.

Dan Freeman offers vocal processing and live performance tips with Ableton Live

Click here to view the embedded video.

Related Dubspot Courses Starting Online & in New York City:

DJ Extensive Program starts June 22nd

Digital DJing w/ Traktor Pro 2 Program starts June 3rd

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Digital DJing with Traktor Pro 2 Program

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJ’s, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Trak

tor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included:

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

Starting with a historical overview, students will learn the fundamental concepts of the DJ via Traktor’s intuitive interface. They will then begin to delve into the vast array of new possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough exploration of DJing with Traktor, and a skill set and knowledge base perfect for further development.

DJ Extensive Program

Immerse yourself in the complete art of DJing from beatmatching to stage presence. Whether you’re a beginner in search of the fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing. Learn more about our DJ courses and programs.

What’s Included:

• DJ Level 1: Rookie Sessions | Essentials I
• DJ Level 2: Phrase Mixing | Essentials II
• DJ Level 3: Beyond The Blend | Intermediate Skills
• DJ Level 4: Preparation | DJ Psychology
• DJ Level 5: Classroom to the Club | Advanced Techniques I
• DJ Level 6: Club to the World | Advanced Techniques II

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college   teachers  were more like these two!” – Leandro Martinez, Chicago IL

Our music production program is custom-tailored to fit your musical style. You can choose from several Digital Audio Workstations including Ableton Live, Logic Pro, or Propellerhead’s Reason.

After completing this program, you will leave with 4 completed tracks (EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Shake Hands with Live
• Ableton Live Level 2: Completing Your First Track
• Ableton Live Level 3: Production Essentials
• Ableton Live Level 4: Sound Design & Instrumentation
• Ableton Live Level 5: Advanced Composition & Production
• Ableton Live Level 6: Taking Your EP Global

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, United Kingdom

Click here to view the embedded video.

As a rule before any gig you should find out who is playing before and after you and always show up at least 1 hour early before your set. This not only enables you to feel the vibe of the room but make sure you do not repeat any tracks that the previous dj has played. Since you have an idea of what the dj is playing before you, pick a great track to transition and leave the next dj with a great starting place. Again, you will know what that dj will be playing so you can choose something that will be easy for them to flow into. This is just common respect for the crowd and the next dj. If you play an earlier set, make sure you play a set that is groovy and does not try and rinse the energy out of the room, especially when there is a headliner on after you. The key to a good dj is knowing how to pace the energy of the night. I guarantee you will get way more compliments if you play appropriately to your time slot. The one mistake I see up and coming dj’s do that is never cool is to bang the shit out of it before the headliner goes on—as if to impress that next dj. That is not cool. If you really want to impress the next dj and the crowd, play appropriately and sexy and let the night have a nice build. If you are in a headlining position, go crazy! Again though, make sure you leave the next dj with something they can flow out of. Lastly, be respectful of the space you are working in. Most booths are small so have consideration for where the next dj will be putting their gear. You can start moving your stuff a bit towards the last couple tracks in your set so the transition can be easier for them. Oh, and never play the headliner’s new big tune in your set. I know this seems like common sense but you’d be surprised as to how many times I’ve seen this happen. - Dj Dan

Feel out the room and crowd and play something appropriate. Don’t over plan and try to stick to a pre-planned set that is not appropriate to what’s actually happening.  Better yet, know what you’ve got as options to play and don’t plan at all!  Don’t play banging shit to an empty dancefloor while people are still filing in and getting their drinks. It’s called the warm up slot for a reason.  Know your role and fulfill it and you’ll be invited back. - Matt Shadetek

Ah the opening DJ set. To me it seems like a lost art form. Art form because it takes a special kind of DJ to handle a crowd that comes early to the club and not bore them but yet not bang it out like it’s 3am.  I feel that the opening DJ’s set is as crucial as is the prime time set. In my opinion you’re actually a good opening DJ if you can rock a 10 to 1am set and not really play any major hits! And it’s not impossible! There are loads of amazing tunes that work during those early hours, you just have to put the time in and find those gems that work. – Hector Romero

An opening DJ should always remember the role that has been delegated to them for the night. You are opening up for another DJ. Your role is to set the tone for the headlining DJ.  Often the opening DJ will try to outdo the headliner by playing strong cuts way too early in the night, and trying to get peak hour crowd responses. A good opening DJ will always remember their role he is playing within the night, and will not try to do that.  The opening DJ should also be compatible to the headliner, and know his stye of DJing as well. - Mike Huckaby

Get set up right away–make sure everything is working smoothly before you get a drink. If it’s a paying gig, find out who’s paying you, how they’re paying you, and at what point in the evening you can expect to be paid. It might be up-front, or you might have to wait around until 4AM. Know this in advance. Go to the bathroom before your set starts. There’s nothing worse for the headliner than DJing in a puddle of urine left behind by the opener. Know the music that you’ll be playing. Don’t try to make a bold statement just yet, especially if nobody is listening. Make sure before you start your set, that you know when you are on and off. If the following DJ is there, work out with him/her how the transitions should happen (both musically and technically) .  Bring extra music to play in case the later DJ is a no-show or starts late. Be conscious of your place and function in the movement of the evening and know your role–whether it is to provide background music, to warm up the crowd, to create a context for the music that the later DJ(s) will be playing. - Martín Perna

I agree with everything everyone has said BUT I still think it’s important for you as an opening DJ to try to stand out and make your mark on the night. If you don’t turn heads with your set, what was the point? Respect of the headliner is great, but ultimately you want more work, which comes through fans and the promoters remembering who you are after your set. Here are a few little suggestions to get into people’s heads:

1. Talk on the mic and say your name throughout your set. I call this “Castanza-ing” (shouts to people who get my specific Seinfeld reference).

2. Drop surprising songs WITHIN THE CONTEXT OF THE NIGHT. Play tracks that people will go “ohhhhh” too, but only within the style of the night and your role of the opener as described by everyone else. These can be throwback songs, silly songs, or songs that seem like they don’t belong in dj sets.

3. Make little flashy routines (that work within the context of the night as already described).

In short, stand out, but do so appropriately! - Dj Shiftee

Michael Walsh is a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

DJ Extensive Program starts June 22nd

Digital DJing w/ Traktor Pro 2 Program starts June 3rd

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Digital DJing with Traktor Pro 2 Program

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJ’s, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Trak

tor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included:

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

Starting with a historical overview, students will learn the fundamental concepts of the DJ via Traktor’s intuitive interface. They will then begin to delve into the vast array of new possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough exploration of DJing with Traktor, and a skill set and knowledge base perfect for further development.

DJ Extensive Program

Immerse yourself in the complete art of DJing from beatmatching to stage presence. Whether you’re a beginner in search of the fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing. Learn more about our DJ courses and programs.

What’s Included:

• DJ Level 1: Rookie Sessions | Essentials I
• DJ Level 2: Phrase Mixing | Essentials II
• DJ Level 3: Beyond The Blend | Intermediate Skills
• DJ Level 4: Preparation | DJ Psychology
• DJ Level 5: Classroom to the Club | Advanced Techniques I
• DJ Level 6: Club to the World | Advanced Techniques II

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college   teachers  were more like these two!” – Leandro Martinez, Chicago IL

Click here to view the embedded video.

SXSW 2012 is officially over, and the Dubspot team had a wonderful time in Austin. We held four days of free workshops, presentations, and DJ / Producer Education Sessions at the Austin Convention Center that were well received. Needless to say, it was a tremendous experience to be surrounded by people who genuinely love music, fascinated with music technology and are eager to see what’s around the corner. So, here’s a video recap of our time in Austin.

Reactable Live! Synthesis & Composition – Patrick Cupo and Barry Cole

Mixing & Mastering Using iZotope’s Ozone 5 – Daniel Wyatt

DJ / Producer workshop with Traktor + Maschine – DJ Shiftee

Dubspot family flew down to Austin for the South by Southwest Music Conference and Festival. Over the last 25 years, SXSW has really grown to be one of the biggest music festivals in the United States. People from all around the world travel to Austin every March to hear and get a feel for where the pulse of music, film, and interactive media technology are headed. For SXSW 2012, we again partnered with Ableton, Native Instruments, Propellerhead, iZotope, Reactable, and Livid Instruments to bring an exciting array of events. These include music production, DJing, sound design, synthesis, mixing and mastering workshops and demos via our renowned EDU Sessions. Dubspot instructors include DJ Shiftee, DJ Kiva, Martín Perna Chris Petti, Daniel Wyatt, and Pat Cupo. Full details for Dubspot EDU Sessions and workshop events at Austin Convention Center are on the flyer below. Click here for Facebook Event page.

What Is Dubspot?

Click here to view the embedded video.

Synthesis & Composition with Reactable

Click here to view the embedded video.

DJ / Producer Tutorial with Traktor and Maschine by DJ Shiftee

Click here to view the embedded video.

Ableton Live Performance Techniques

Click here to view the embedded video.

Propellerhead Reason 6: BASS 101

Click here to view the embedded video.

Mixing & Mastering with iZotope’s Ozone

Click here to view the embedded video.

Read Pat Cupo’s Music Foundations: Electronic Music Theory series here.

Click here to view the embedded video.

Sound Design

Click here to view the embedded video.

DJ / Producer EDU Sessions at Austin Convention Center | Exhibit Hall 5

Convention Ctr. Hours: Wednesday 3/14 – Friday 3/16 12:00pm – 6:00pm | Saturday 3/17 12:00pm – 5:00pm

Click here to view the embedded video.

Korg iKaossilator 2.1 Update

While the evolution of iOS music applications has been exciting, it’s been a slow road to get many of these cool applications working together to create a productive music workflow. Korg (one of the first companies to support iOS MIDI) continues to be one step ahead of the pack with this recent update to iKaossilator. which now supports audio paste as well as loop import. Korg explains,”Audio loop files can now be imported into each part of the sequencer. To import, simply send your audio loop via iTunes to iKaossilator and load it via the import menu in the sound list (the sound selection screen). In addition to simply playing an imported audio loop, you can use a filter effect assigned to the touch pad to vary the character of the song just as you would on the Kaoss Pad.” In the above video, Youtube user mvpadrini shows how to grab an audio loop from the Korg iMS-20 app and effect that loop with the iKaossilator.

Click here to view the embedded video.

GlitchBreaks

Need to create some nice loops to drop in your iKaossilator? GlitchBreaks by Alex Matheu could be the perfect solution (check out this video for a how-to). The app does exactly what it says and looks to be a fantastic way to chop up pre-recorded beats for a glitched-out session. Then, you can then record the new beats you’ve created and export them to other apps or your DAW. Matheu explains, “GlitchBreaks can be used as a performance tool to juggle breaksbeats or destroy sounds at a granular level. You can make interesting effect-like-sounds by manipulating pitch, loop start, length, and cutting the beats with fluid responsive controls. Auto-BPM detection will detect the tempo of a sample you copy into Glitchbreaks (you just need to specify the bars between 1-4). Glitchbreaks contains a 4 channel mixer to adjust the levels of each sample, as you change the levels the sounds are combined into the mix, on the iPad version this is displayed graphically with a rendered waveform that is combined to give you an indication of what the entire sound looks like.”

Click here to view the embedded video.

Mixvibes Cross DJ

MixVibes, creators of the Cross DJ software platform for computers, are bringing the robust music mixing package to the iPad sometime in the very near future. The iOS app will take the experience directly onto the iPad (it’s a DJ app, not a controller app) in a colorful and well-designed interface that combines waveforms, functional controls and X/Y pad for performance. The app features a 2-channel mixer, 3-band EQs w kills, loop function, 6 cue points, and audio FX that control by way of the X/Y control pad.

Key Features:

• The mixer section includes 2 players with 3-band equalizers, frequency kills, gains, 2 volume faders, a crossfader and 2 pitch sliders with adjustable range (4%, 6%, 8%, 16%, 32%, 100%).
• The “vinyl record deck” view allows precise scratching and the possibility to cue a track as you would with a regular turntable.
• The “FX view” features a large X/Y control pad allowing you to explore the full extent and potential of the 13 audio FX. The “FX hold” feature allows you to lock down an audio effect on a precise setting point.
• Two loop modes: The first mode is the regular loop mode with 8 different lengths of loops varying from 1/8th to 16 beats (4bars). The second mode is called “slip” mode. Here, loops are active only when a finger is pressed on the loop.
• Media browsing is made through a multi-criteria filter or directly on the full size iPad keyboard.

Richard Devine Expansion Pack for Animoog

Moog’s highly successful Animoog synth application has recently gotten a nice booster pack. Following in a series of in-app preset packs that users can purchase, sound designer Richard Devine has created 32 new presets for Animoog that feature “43 new timbres,” as described by Moog. At $1.99 this is a no-brainer. Devine is responsible for some of the best sound design in the industry and his preset pack for Moog is bound to inspire. In addition, be sure to check out Matt Cellitti’s Animoog video tutorial series on our blog, where you can learn how to build patches from scratch and integrate this synth into your DAW workflow.

Rupert Parkes aka Photek is regarded as one of modern electronic music’s most innovative producers and DJs. We caught up with him at SXSW 2012 for a brief interview in which he discusses this early days as a rave music producer and DJ, learning about equipment and music production in magazines like Sound On Sound and Future Music, moving from Cubase to Logic Pro, using Ableton Live for for production and performance. He talks about the brand new DJ-Kicks mix/compilation for !K7 and offers some invaluable advice for up and coming producers, composition techniques, honing your craft and having a unique voice.

PHOTEK : M25 Casette Mix by Photek

PHOTEK : No Agenda : Free Download! [From Photek DJ Kicks Comp] by Photek

From Discogs:
A fixture on the UK jungle scene since the early nineties, Photek a.k.a. Rupert Parkes (born 1972, St Albans, England and associated with Ipswich in the nineties) is best known for his role in developing the “intelligent” drum & bass genre. Over the course of his career as Photek, Parkes has developed a sound that is simultaneously individual, innovative and accessible, earning him much respect and popularity amongst critics and music fans alike. The strength of the sound finds foundation in Photek’s incredibly detailed drum programming, which is then augmented by his sophisticated sense for combining abstract sounds with jazz and classic techno influences.

Recently Parkes has been more and more active in producing music for film, having worked on a number of scoring projects for upcoming features from his new home base in Los Angeles. His dedication to film scoring is evident, and his perfectionist attention to detail and tireless work ethic are quickly leading him to success in Hollywood.

In this two-part episode of The Petti Test, Chris answers a popular request and tackles a particularly difficult area of sound design for up and coming producers. Chris Petti shows  you how to create that infamous squelchy, mid-range, talking bass sound  you often hear in songs by producers like Skrillex, Kill the Noise, and Rustie. In a step by step process, Chris Petti further explains and demonstrates what FM Synthesis is and uses Propellerhead’s Thor synthesizer to create the mid-range, FM Bass sounds.

The Petti Test Ep.3 Pt. 1 – Using FM Synthesis to Create Mid-Range Bass – Skrillex, Kill the Noise

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The Petti Test Ep.3 Pt. 2 – Using FM Synthesis to Create Mid-Range Bass – Skrillex, Kill the Noise

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Related Dubspot Courses:

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

• Reason Level 1: Sketches, Beats, and Remixes
• Reason Level 2: Dissect and Reconstruct
• Reason Level 3: Sound Design
• Reason Level 4: Advanced Sound Design
• Reason Level 5: Recording and Mixing
• Reason Level 6: Beyond the Rack

This program is about learning Reason by going through the entire process of being an artist, from developing your sound through a series of sketches while getting familiar with the application to creating a fully-fleshed out four song EP. You will create a remix and submit it to an active remix contest, create a refill, and learn valuable insider tips and techniques.

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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A new pair of speakers can be a huge inspiration to your music making experience. Who doesn’t like better sound? But it’s important to realize that where you place those nice new speakers can have a massive impact on how they will sound and also how your productions will sound. As I explained in the previous article on studio monitors, these speakers aim to achieve “zero coloration,” which is to say that all frequencies in the audio spectrum are presented equally with a “flat” response. Variables such as the surface they sit on, how they are angled, and where you sit in relation to the speakers can change how your ears will receive this spectrum of sound.

Speaker Size

One of the most important variables to consider when purchasing new monitor speakers is the size of the room that you will put them in. While most of us would love a nice 10″ or 8″ driver, this might be too much bass for a small studio, which will in turn create a false representation of your signal. Dubspot’s Evan Sutton explains,”Using a smaller speaker will actually make the bass response better in a small room. These days, we’re really preoccupied with bass, but the fact is that too much low end in a small room will make the bass sound worse, or emptier than it would be.”

Speaker Placement

Speaker Isolation Pads

Speaker isolation pads are small wedges of foam that sit between your speakers and the surface that holds them. If your speakers sit directly on a desk or hard surface, they can create false sounds by way of vibration that flows through that surface. Isolation pads such as the Editors Keys Monitor Guards (above) are created from dense foam that isolates your studio monitor speakers and allows a true sound to be projected without your desk or stands resonating.

Bass Traps / Absorption

Once again, the room that you are working in has a lot to do with the sound that will be reproduced on your speakers. The size and shape of the room as well as the surface of the walls can completely change the sound. An empty room will allow sound waves to bounce off the walls in every direction creating a very problematic situation for producers. For this reason many studios have bass traps or absorption panels to keep the sounds in place. Dubspot’s Evan Sutton explains further:

Absorption is also important in rooms with parallel walls. When a wave leaves the speaker, hits the back wall, and reflects back to the listening position, the brain can’t tell the difference between the original wave and the reflection. This causes smearing of the stereo field and increases listening fatigue. Trapping and absorption especially on the back wall and in corners behind the listening position are infinitely helpful.

Michael Walsh is a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Unravel electronic music’s origins, build your chops, learn the language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music, strengthen their keyboard skills, and learn valuable music theory skills, deepening their creative practice and facilitating effective collaborations with musical partners.

What’s Included:

• Music Foundations Level 1: Electronic Music Appreciation
• Music Foundations Level 2: Keys & Melodic Theory
• Music Foundations Level 3: Pads & Rhythmic Theory

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

EMF (Music Foundations) has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom